Handbook of violin playing
AUGENER’S EDITION, No. 9212.
BY Prof. CARL SCHROEDER
TRANSLATED AND EDITED BY J. MATTHEWS
WITH AN APPENDIX CONSISTING OF A GUIDE THROUGH VIOLIN LITERATURE AND A CHAPTER ON THE VIOLA
FOURTH EDITION
AUGENER Ltd.
LONDON
Printed in England.
CONTENTS.
The invention of stringed instruments is certainly of great antiquity, but exact information with regard to the origin of the violin has not come down to us. Although stringed instruments were in use before Christian times, we know that these had nothing in common with the violin, or that at any rate the bow was not then known. It is therefore presumed that its invention and use in connection with stringed instruments occurred in the first century of the Christian era.
known are those of the Tyrolese Lute maker Gaspard Duiffopruggar (Tieffenbrucker), made in the 16ᵗʰ century. A few of these instruments remain to the present day, and are noticeable on account of their fine, clear tone, as well as for the neatness and elegance of their workmanship.
After Duiffopruggar the following makers were those who chiefly laboured to perfect the violin:—Gaspard da Salo (middle of the 17ᵗʰ century), Giovanni Paolo Maggini (1590-1640), Andreas Amati (1520-1580), his sons Antonius and Hieronymus Amati, the son of the latter, Nicolas Amati (1596-1684), the pupils of the same: Jacob Stainer (1621-1683) and Antonius Stradivarius (1644-1737). Of the Amati violins, those of Nicolas Amati are the best; the most perfect specimens of violin making, at present unsurpassed, were made by Stradivarius. In his instruments everything is perfected, — tone, model, varnish, etc.
Carl Schroeder
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Origin of the violin.
The oldest violins
Development of the violin.
Prominent makers of the present day.
Attempts at improving the violin.
Points of note in the old Italian violins.
Imitations of old Italian violins.
Constituent parts of the violin.
Position of the Bridge
Size of the violin.
The wood of the violin.
The varnish.
The strings.
Strings pure in fifths.
The string guage.
Care of the strings.
The bow.
Constituent parts of the bow.
Resin.
Violin cases.
Prices of violins.
Prices of Violin cases.
Prices of bows.
Care of the instrument.
Cleaning the hair of the bow.
Naming and tuning of the strings.
Compass of the violin.
Attitude of the player.
Holding the violin.
Position of the left hand and the left arm.
Holding the bow.
Position of the right hand and arm.
Testing the position.
Bowing.
Use of the down and up bows.
The first bowing exercises.
Placing the fingers.
Practice of intervals in C major:
Chord exercises in arpeggio form.
Stretching the little finger.
The various kinds of bowing.
Arpeggi.
The Vibrato or close shake
The Trill.
The Mordent (Pralltriller).
The double trill.
Scale practice.
Fingering of the scales.
The chromatic scales.
The Positions.
Changing the position.
Double stops.
Chords of three notes.
Harmonics.
The pizzicato.
PART III.
The rendering.
Taste.
Individuality.
Phrasing.
APPENDIX.
The mute.
Some Violinists of the 20ᵗʰ Century.
Translator’s Appendix.
The Viola.
Violin Methods.
Technical Exercises.
Studies.
Pieces for Violin Solo.
Duets for 2 Violins.
Duets for Violin and Violoncello.
Duets for Violin and Organ.
String Trios.
Pianoforte Trios.
String Quartets.
Piano Quartets.
String Quintets.
Pianoforte Quintets.
Sextets.
Septets.
Octets.
Old Chamber Music.
Violin and Orchestra.
String Orchestra.
VIOLA LITERATURE.
